Out from the Comic Shop

Monday, February 6, 2012

From the first few panels of Okie Dokie Donuts, it's clear that writer/artist Chris Eliopoulos has a handle on how to create an energizing tale. Panels are nearly spilling over into one another, filled with singing customers and meticulously rendered backgrounds of the shelves and pastry cases in the donut shop. Big Mama, owner of Okie Dokie Donuts, is indeed a big mama, and Eliopoulos seems to have to squeeeeeeze her girth into panels amidst her loving customers. The physiques of Big Mama, not to mention the mysterious salesman named Mr. Mayweather and his robot Mr. Baker, are misshapen and exaggerated, contorting to emote joy, disgust, and surprise. This sort of kinetic construction pushes readers' eyes through the story quickly, even though much is to be gained upon re-reads, when one can take the time to view and appreciate the highly-detailed panels.

Playful sound nods to the reader ("How did you get that giant box in my kitchen?" "It's a comic book. Don't worry about it!") and sing-song dialogue add another layer of sensory depth that can't help but bring to mind Saturday-morning cartoons of yesteryear. And though at times the color palette (all oranges and yellows) can cause some perspective confusion, there is rarely more than one character speaking per panel, which, speaking from experience, is a real plus for novice comics readers. Comics, after all, is a visual medium, and the stars that circle over a concussed character's head can tell just as much of a story as an exclamation of "Ouch!" or speech bubbles that go back and forth between characters again and again and again.

Though Eliopoulos is clearly adept at creating an auditory dimension to his work, I was likewise impressed by his choice of dialogue. This is clearly a comic with young readers in mind, but his word choice is anything but childish, again recalling cartoons like "Loony Tunes" in which the creators clearly respect the viewer's ability to decipher sophisticated words (at least, sophisticated for eight year-olds) by using context clues. Sure, the average reader of Okie Dokie Donuts may not know what "patisserie" means, but one look at a character's wild gesticulations can give clues to its meaning that are easy enough to pick up.

Okie Dokie Donuts is a ton of fun. Highly recommended for ages 6-10.

Want to check it out for yourself? You can check out a preview of Okie Dokie Donuts over at Good Comics for Kids.

Thursday, June 23, 2011

Disclaimer: I, unlike the pre-teens and teenagers I taught for years, have a weak constitution when it comes to the macabre. In film form, anyway. And while yes, it is embarrassing that 12 year-olds have stronger stomachs for slasher films than I do, I take some small comfort that at least recently I have grown to appreciate a melancholy tale or two in print form. A perfect example -- I love Robert Kirkman’s The Walking Dead in comics form. But there’s no way I could handle watching the TV adaptation done by AMC. Maybe I’ll get there someday. Baby steps, you know?

So with my limited exposure to this genre of literature, I’ve identified a few go-to writers who can scratch this curious itch. I’ve recently become appreciative of Neil Gaiman’s particular take on the darker side of life, gobbling up the comics, children’s books, and novels he’s penned. I was even lucky enough to see him speak about his novel Neverwhere as part of Chicago Public Library’s “One Book, One Chicago” program this past winter. So when, during this talk, he mentioned that Vera Brosgol’s Anya’s Ghost was one of the only new books he was really excited about, I knew I had to give it a shot. Spoiler: I wasn’t disappointed.Anya is a strong-willed teenager who is evidently so concerned with fitting in that she actively shuns her Russian heritage. Anya worries that her mother’s “greasy” traditional Russian breakfast will cause her to gain weight. She actively avoids Dima, her fellow Russian immigrant classmate, whose thick accent she finds embarrassing. She even introduces herself to her crush as Anya “Brown” (rather than using her actual surname, “Borzakovskaya”) so clearly focused is she on assimilating fully into popular American culture. Deciding to skip school rather than deal with all of the pressures that can drive a teenager crazy, Anya literally stumbles upon the ghost of a girl who has trapped in a well for 90 years. When Anya is rescued from the well, she unknowingly brings the stowaway spirit Emily with her. And though using Emily in school as an intangible talking cheat sheet does seem fun at first, Anya’s obsession with popular culture and ‘hooking up’ Anya with a hunky jock quickly wears on Anya’s nerves. When Emily feels that Anya no longer needs her, Emily’s true nature (as both a ghost and a young girl with a hidden past) begin to surface, and Emily is forced to enlist Dima and a public library (how lame!) to figure out Emily’s secret.It’s this idea of the difficulties in establishing one’s own identity that gives Anya’s Ghost such power. Emily’s passionate pursuit of modern popular culture mirrors Anya’s quest to seem as ‘American’ as possible, and this struggle to fit in should seem quite familiar to any teenager who opens Anya’s Ghost. Fittingly composed in grey tones, Brosgol’s art is accessible, clean, and expressive. Because of her ordeal, Anya’s experiences a myriad of emotions, and Brosgol is able to accurately embody these emotions in the contortions of Anya’s face. The plotting of Anya’s Ghost is well-balanced, with fast-paced action scenes interspersed amongst the quieter character moments, which should appeal to teen readers who enjoy suspenseful reads. I will point out, however, that there is some fairly mature content here, including Anya’s obsession with smoking and her attempt to dress provocatively (at Emily’s suggestion) in order to attract her crush. These moments, however, are meaningful in the larger thematic context the story. Finding where you fit in the world is tough for a teenager -- alive or dead. And though it takes a supernatural encounter for Anya to realize that there are more important things than popularity, it is still an important lesson learned, and one that will not be lost on teen readers.

Monday, May 2, 2011

If there's one thing that nearly all teenagers are adept at, it's escapism. And hell, who can blame them? School, peer pressure, zits, puberty...it's enough to make any sane person crawl into a hole. These challenges can be even more intense for many first generation Americans, as the examples of risk and sacrifice set by their parents can be intimidating, to say the least. When confronted with his father's death, Dennis Ouyang -- Level Up's awkward teenage lead -- attempts to finds sanctuary from such pressures in video games. But try as he may, he cannot escape the life his father wanted so strongly for him to lead.

That is not to say that Level Up doesn't have its moments of levity. Romantically, Dennis is both the pursuer and the pursued, and negotiates the two as many teenagers do -- by making a whole lot of mistakes. Dennis dumps his video game friend the moment he first succumbs to the pressure of his father's hopes for him, learning only much later what a mistake it was. It is Yang's ability to balance the everyday teenage drama with more difficult issues such as ethnic identity and death that makes his work such a great read for both teenagers and adults.

Literally haunted by his father's memory in the form of four tiny angels that only he can see, Dennis flip-flops between accepting the life his father had planned for him (as a gastroenterologist) and carving out a life of his own. These angels attempt to instill in Dennis "the will to endure", which, as anyone who has experienced the loss of a loved one knows, is no small task. Here, Yang flexes his unique skill of using magical realism to convey complicated messages about race and identity. Thought the plot in Level Up is less nuanced than in American Born Chinese, Yang's best known work, the import of the magical aspects of the story remains. These angels are relentless in their pressure on Dennis to "fulfill [his] destiny;" so that the effect of this device is to leave the reader feeling that this is not simply the wish of a 'bossy' parent, but something much greater. With the help of his med school friends, he finds a way to cope with these expectations, eventually confronting the angels. In this moving scene, Dennis gains insight into his father's own struggles, setting him on the road to understanding just why his father believed so intently in his son's 'destiny'.

One need not be the children of immigrants, however, to appreciate Dennis' difficulties, and in this way Yang offers teenage readers what many so desperately crave -- inspiration that they too can one day take control of their own lives, whether inspired by or despite the wishes of their parents.

Pham's art is reminiscent of the Diary of a Wimpy Kid series in that it is not meant to dazzle with technical mastery, but only to function effectively as a storytelling vehicle. Simple figures, colors, and layouts are all that is needed, as long as those stick figures communicate a message that words alone cannot. What works for Diary of a Wimpy Kid works for Level Up; clean, straightforward storytelling that in its simplicity somehow accentuates how complex adolescence and young adulthood can be. Coupled with the sincerity and heart present in all of Yang's work, Level Up is an achievement indeed.

Sunday, April 24, 2011

Here’s the thing about writing for young adults: it’s extremely difficult to avoid being either too cutesy or too mature. Robert Kirkman (Invincible, The Walking Dead), through his signature blend of silly humor and nonstop action, deftly navigates the precarious Young Adult terrain in the new series Super Dinosaur, the first issue of which was released this week by Image Comics. Helped immensely by Jason Howard’s clean lines and smooth visual storytelling, Super Dinosaur provides young adult readers just the right blend of adventure and comedy to keep them wanting more by the time the issue comes to its dramatic cliffhanger end. And, honestly, it’s a whole lot of fun for adult readers as well.The titular Super Dinosaur (or SD for short) is a talking, armored, armed Tyrannosaurus Rex from the middle of the earth. SD, Derek Dynamo (his teenage best friend and the son of the famous Doctor Dexter Dynamo), and Derek’s robot Wheels use their well-balanced combination of intellect and some pretty awesome robotic artillery to battle the evil Doctor Max Maximus. Though Derek loves teaming with SD and Wheels to launch fists and missiles at evil robots and Dino-Men, his biggest concern is that his father’s mental capacities are slowly fading. Like many teenagers, Derek has to grow up quickly, covering for his scientist father’s increasingly frequent mistakes by finishing his work, afraid to let his father know that he is not quite the scientist that he once was.Super Dinosaur works so well because it manages to create a hero in Derek that young adults can relate to and aspire to be. He’s a seemingly normal teenager who cares deeply about his father and his friends (even if they are a nine foot tall dinosaur and a robot) and who loves adventure. Though he hasn’t been gifted with tremendous physical strength, his intelligence and empathy for his father inspire him to fight for what is right. Kirkman’s choice to have the Dino-Men as the villains is a thoughtful device to soften the impact of the violent acts that the heroes inflict upon their enemies, while providing the page-turning action that young adult readers expect. In the end, however, it is Derek’s relationship with his father that provides the drama that drives this story. Teenagers, maybe more than any other age group, understand what if feels like to be powerless, and should instantly respect and admire Derek’s efforts to protect his father. Super Dinosaur is a fun-filled, action-packed adventure for readers of all ages. Howard’s art style is perfect for new comics readers, as the colors are vivid and the action is dynamic yet easy to follow (a concern expressed by many readers new to comics). Kirkman and Howard have a hit on their hands in Super Dinosaur, and readers should be excited to read what comes next.

Michael Chabon, Pulitzer Prize winning author of The Amazing Adventures of Kavalier & Clay (currently my favorite novel of all time, by the way), made a similar plea at Comic Con International in 2004. You can read that speech here, and it has also been collected in his book of essays entitled Maps and Legends.

Sunday, October 3, 2010

The creative team that brought the excellent City of Spies is back with their second graphic novel, this time with the talented Faith Erin Hicks (whose War at Ellsmere I previously reviewed on this blog) handling the art duties. From the jacket design to the wonderfully creepy story, Brain Camp is a another wonderfully unique work of comics that belongs in your school's library.

Immediately appealing to students is the setting of Brain Camp; a summer camp for the gifted. Protagonists Jenna and Lucas endure all of the usual calamities that befall adolescents while away at summer camp, including cliques, weird food, and out-of-touch camp counselors. Jenna and Lucas are in for a surprise though, as it is clear that their are some dark secrets that the camp leaders are concealing -- strange, mystical secrets...

Brain Camp should appeal to middle school readers who've been devouring traditional novels of vampires, werewolves, and the like. In fact, Brain Camp might be a perfect entrance point to the world of comics and graphic novels; the panel layouts are very clear and easy to follow, and Hicks has a way of blending both realistic and cartoonish rendering of characters and settings. First Second is really leading the way in graphic novel publishing aimed at kids, and Brain Camp might be their best contribution to the medium yet.

Tuesday, September 28, 2010

Time to celebrate Banned Books Week, since the ALA (American Library Association) has put out the list of the most challenged graphic novels. Some were understandable, others, I’m scratching my head here. Example: Maus has been challenged as being “Anti-Ethnic”. I don’t get where that’s coming from since it teaches of the horrors of the Holocaust. Now, Sandman, I understand, it’s not age-appropriate, but why would that be in a school anyways? Or Watchmen, which was “unsuited to age group”? What age are we talking about here?

“Not every book is right for each reader, but we should have the right to think for ourselves and allow others to do the same,” said ALA President Roberta Stevens. “How can we live in a free society and develop our own opinions if our right to choose reading materials for ourselves and our families is taken away? We must remain diligent and protect our freedom to read.”

Again, I think it’s silly for other people (read: strangers) to decide what is suitable for other people to read. Other than the fact it’s cost people their librarian positions for making that decision, it’s just morally wrong.

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About this blog

Purpose:This blog is intended to track my progress creating a junior high curriculum unit around Jeff Smith's Bone, Volume 1: Out From Boneville, as well as to provide insight for teachers already using or considering using comics and graphic novels in the classroom.

Motivation:Simply put, I've had a great deal of difficulty finding practical information on the teaching of comics and graphic novels. Therefore, I'm taking it on myself to put my ideas out into cyberspace for all to see.

Goal:Give teachers the tools they need to use comics and graphic novels in the classroom. Eventually I'd love to get this work published.